There are dark shadows on the walls, shadows deep enough to swallow a man whole. ME!" Even the VCR--which turns out to be the weak spot in the fortress--has a wooden cozy around it. It's a typical Lynch strategy to use a rotting child actor (such as Dean Stockwell in Blue Velvet) for the maximum in decadence. The Mystery Man is a demon, I think. Horror ought to transcend logic and ordinary reality. Alice is overloaded with light; her platinum hair is so white it leaves shadows; her skin is so bleached-out her nipples are blazing. There is less skull-crunching, more mood, more velvety paranoia. Angelo Badalamenti, Lynch's usual musical collaborator, creates low tones that are like a psychological-warfare version of Sensurround, sometimes punctuated with the tones of a grind-house saxophone, electronically treated to sound like ocean-liner klaxons. Even in the scene designed to most rile audiences--a forced strip by Arquette as Alice--there's an element of doubt. Horror ought to transcend logic and ordinary reality. There's no confrontation here; instead, Lost Highway confirms your worst fears. "Baloney, perhaps not.") Like a bad nightmare, they color your whole day. When the two make love, she is so aloof that he turns flaccid. His obsessions surface again and again: the first discovery of sex; force and those who use it; the persistence of the most vicious sexual fantasies in the meekest people; and the way that the violent and the meek, when brought together, nourish voyeuristic demons avid to suck up some garmonbozia. At last, she answers his bleating "I want you, I want you" with a triumphant "YOU'LL. In an interview in Sight and Sound, Lynch laughed nervously over the synopsis of Lost Highway because it sounded like "baloney." We are perhaps kin to them: we watch the pain and suffering of others, using them for our own purposes. DKL himself described Lost Highway as a Mobius strip in a multitude of interviews. (Too bad the same can't be claimed of movies with angels. [ Metro | Metroactive Central | Archives ], Rare Intensity Wild at Heart seemed to exist only to top Blue Velvet for shock value. "Superstitious, perhaps," Lugosi replies. And that is true horror: the worst suspicions and fears of life made plain. There's no confrontation here; instead, Lost Highway confirms your worst fears. There's no confrontation here; instead, Lost Highway confirms your worst fears. Lost Highway is a horror film thinly disguised as a crime drama with a plot that resists analysis; the wraparound story, like that of 12 Monkeys and La Jetée before it, begins where it ends. Alice is overloaded with light; her platinum hair is so white it leaves shadows; her skin is so bleached-out her nipples are blazing. There is less skull-crunching, more mood, more velvety paranoia. Renee's breasts don't jiggle as he thrusts. Who knows for sure? But Scream, the most popular horror movie in the last six months, is very logical in its way--a facile satire, modestly flattering to the horror-film audience it characterizes as rational people who can tell the difference between screen violence and real violence. Lost Highway (R; 135 min. or "God!"?) Lynch's demons feed off of pain and suffering. Lynch's sensibility held the show together. Lost Highway (R; 135 min. Renee is underneath Madison. (Too bad the same can't be claimed of movies with angels. Lost Highway is a horror film thinly disguised as a crime drama with a plot that resists analysis; the wraparound story, like that of 12 Monkeys and La Jetée before it, begins where it ends. Or really, she may kind of like the whole thing, because she is, well, bad. Madison's situation is worsened by some anonymous videotapes that arrive in the mail, and by his meeting with the Mystery Man at a party. Wasn't Twin Peaks just the other side of Highway to Heaven?) Blake has Bela Lugosi's own car-door ears and blood-red lipsticked mouth. [ Metro | Metroactive Central | Archives ], Photo by Suzanne Tenner Horror ought to transcend logic and ordinary reality. Lost Highway is a calmer film. And that is true horror: the worst suspicions and fears of life made plain. "Baloney, perhaps not.") "Superstitious, perhaps," Lugosi replies. But Scream, the most popular horror movie in the last six months, is very logical in its way--a facile satire, modestly flattering to the horror-film audience it characterizes as rational people who can tell the difference between screen violence and real violence. Laura whispers into Cooper's ear in part 2 (we don't hear what she says) then disappears/is pulled out of the Black Lodge. The pink light from the electric torchiers doesn't warm the rooms, nor does light from a skylight penetrate them. Photo by Suzanne Tenner There is no real subtext in a Lynch movie, because his films are all subtextual. An auto mechanic with a criminal record, Pete Dayton (Balthazar Getty), ends up in a dangerous tryst with Alice Wakefield (Arquette again). Like a bad nightmare, they color your whole day. There are dark shadows on the walls, shadows deep enough to swallow a man whole. LYNCH WROTE Lost Highway with Berkeley writer Barry Gifford; the two also collaborated on 1990's Wild at Heart. Lynch's films are often without deep subject matter--and yet they affect you on a deep, emotional level. She may be so marked by her humiliation that she hardens forever. Twin Peaks became a sort of national joke, probably because of the supernatural elements; the use of demons in movies is automatically considered evidence of lightweightedness and incoherence. The violent ones shall inherit and corrupt the meek in David Lynch's demon-haunted new film, 'Lost Highway' It's a typical Lynch strategy to use a rotting child actor (such as Dean Stockwell in Blue Velvet) for the maximum in decadence. When Madison has to break the session off, out of despair, his wife holds him with the slightest compassion imaginable. Madison's situation is worsened by some anonymous videotapes that arrive in the mail, and by his meeting with the Mystery Man at a party. She's rears up like a horse over Pete, who is moaning, "I want you, I want you." Blake has Bela Lugosi's own car-door ears and blood-red lipsticked mouth. DAVID LYNCH describes Lost Highway as a "Möbius strip"--a symbol of infinity, apparently two-sided but really one continuous plane. He seems to be breaking free of narrative. There is less skull-crunching, more mood, more velvety paranoia. There's no confrontation here; instead, Lost Highway confirms your worst fears. ), directed by David Lynch, written by Lynch and Barry Gifford, photographed by Peter Deming and starring Bill Pullman, Patricia Arquette and Balthazar Getty. At last, she answers his bleating "I want you, I want you" with a triumphant "YOU'LL. Alice is overloaded with light; her platinum hair is so white it leaves shadows; her skin is so bleached-out her nipples are blazing. Photo by Suzanne Tenner Even the VCR--which turns out to be the weak spot in the fortress--has a wooden cozy around it. Blake has Bela Lugosi's own car-door ears and blood-red lipsticked mouth. She's rears up like a horse over Pete, who is moaning, "I want you, I want you." He seems to be breaking free of narrative. Wasn't Twin Peaks just the other side of Highway to Heaven?) She may be so marked by her humiliation that she hardens forever. There's no confrontation here; instead, Lost Highway confirms your worst fears. Wasn't Twin Peaks just the other side of Highway to Heaven?) Watching a Lynch film is like watching a virtuosic musician playing a one-of-a-kind instrument that only he knows how to play. The moment is held. (Too bad the same can't be claimed of movies with angels. "Baloney, perhaps not.") This would explain why so many characters seem trapped or stuck, whether it be Audrey (in her head), The Blue Rose Task Force in Buckhorn (what exactly did they solve? Photo by Suzanne Tenner (Too bad the same can't be claimed of movies with angels. When the two make love, she is so aloof that he turns flaccid. [ Metro | Metroactive Central | Archives ] Watching a Lynch film is like watching a virtuosic musician playing a one-of-a-kind instrument that only he knows how to play. After Alice tells her story of what the vicious gangster Mr. Eddy (Robert Loggia) made her do, and after Pete and Alice kill a man together, they make love in the desert in the light of the high beams of a parked car. Lynch's movies don't make you feel mildly chilled or rational. Alice is overloaded with light; her platinum hair is so white it leaves shadows; her skin is so bleached-out her nipples are blazing. ), directed by David Lynch, written by Lynch and Barry Gifford, photographed by Peter Deming and starring Bill Pullman, Patricia Arquette and Balthazar Getty. And that is true horror: the worst suspicions and fears of life made plain. Effects of lighting and sound sharpen the sense of disorientation throughout Lost Highway. [ Metro | Metroactive Central | Archives ], Horror ought to transcend logic and ordinary reality. (Was it The Return of Chandu in which Lugosi squelches a wise-ass who has just mocked some arcane ritual as "superstitious baloney"? To paraphrase Dashiell Hammett in The Maltese Falcon, when you watch a Lynch movie, it is as if someone had taken the lid off of life and let you look at the works. The intense situations are unlinked to plotting and are brought to a boil through a sort of cinematic shorthand--the quickest route to an intensity rare even for Lynch. Even the VCR--which turns out to be the weak spot in the fortress--has a wooden cozy around it. But the Prince of Darkness doesn't come looking for souls; when a devil turns up in a Lynch movie, it's usually just because he likes to watch. Madison's situation is worsened by some anonymous videotapes that arrive in the mail, and by his meeting with the Mystery Man at a party. Lynch's movies don't make you feel mildly chilled or rational. It's a typical Lynch strategy to use a rotting child actor (such as Dean Stockwell in Blue Velvet) for the maximum in decadence. The intense situations are unlinked to plotting and are brought to a boil through a sort of cinematic shorthand--the quickest route to an intensity rare even for Lynch. "Baloney, perhaps not.") Even in the scene designed to most rile audiences--a forced strip by Arquette as Alice--there's an element of doubt. To paraphrase Dashiell Hammett in The Maltese Falcon, when you watch a Lynch movie, it is as if someone had taken the lid off of life and let you look at the works. HAVE. When the two make love, she is so aloof that he turns flaccid. There's no confrontation here; instead, Lost Highway confirms your worst fears. I UNDERSTAND people who find his images repellent and his narratives weird. Lynch's films are often without deep subject matter--and yet they affect you on a deep, emotional level. Gifford, a fan of film noir, is apparently intimidated by Lynch's willingness to harrow the audience. Inland Empire is a 2006 experimental film written, directed and co-produced by David Lynch.The film's cinematography, editing, score and sound design were also by Lynch, with pieces by a variety of other musicians also featured. Angelo Badalamenti, Lynch's usual musical collaborator, creates low tones that are like a psychological-warfare version of Sensurround, sometimes punctuated with the tones of a grind-house saxophone, electronically treated to sound like ocean-liner klaxons. Horror ought to transcend logic and ordinary reality. Later, after his meeting with the Mystery Man, Madison literally disappears. The intense situations are unlinked to plotting and are brought to a boil through a sort of cinematic shorthand--the quickest route to an intensity rare even for Lynch. He isn't a consoler. HAVE. The pink light from the electric torchiers doesn't warm the rooms, nor does light from a skylight penetrate them. Lynch is the last director left who is willing to present horror as horror, willing to baffle us, willing to wound us. Even in the scene designed to most rile audiences--a forced strip by Arquette as Alice--there's an element of doubt. He gives you what you want to see, and seeing it makes you realize the demon within. NEVER. Lynch is the last director left who is willing to present horror as horror, willing to baffle us, willing to wound us. NEVER. (And the TV audience is happier when a show is more clearly joking, as in Northern Exposure and The X-Files.) Renee is underneath Madison. Or really, she may kind of like the whole thing, because she is, well, bad. [ Metro | Metroactive Central | Archives ], The Mystery Man is a demon, I think. Wasn't Twin Peaks just the other side of Highway to Heaven?) The intense situations are unlinked to plotting and are brought to a boil through a sort of cinematic shorthand--the quickest route to an intensity rare even for Lynch. The moment is held. Wild at Heart seemed to exist only to top Blue Velvet for shock value. Alice grows stronger, as if the light were feeding her. The story changes, but the mood doesn't break. Wasn't Twin Peaks just the other side of Highway to Heaven?) The Mystery Man is a demon, I think. (Was it The Return of Chandu in which Lugosi squelches a wise-ass who has just mocked some arcane ritual as "superstitious baloney"? It's said that the real purpose of horror is to offer a stylized way to confront your fears. After Alice tells her story of what the vicious gangster Mr. Eddy (Robert Loggia) made her do, and after Pete and Alice kill a man together, they make love in the desert in the light of the high beams of a parked car. He seems to be breaking free of narrative. Twin Peaks became a sort of national joke, probably because of the supernatural elements; the use of demons in movies is automatically considered evidence of lightweightedness and incoherence. In an interview in Sight and Sound, Lynch laughed nervously over the synopsis of Lost Highway because it sounded like "baloney." The windows shut out as much natural light as possible, so he can sleep days. Alice may be a nice girl who is a victim of circumstance. She may be so marked by her humiliation that she hardens forever. It made it easier to explain things to ourselves and keeping it straightforward. The pink light from the electric torchiers doesn't warm the rooms, nor does light from a skylight penetrate them. He may be Satan himself. Gifford, a fan of film noir, is apparently intimidated by Lynch's willingness to harrow the audience. His obsessions surface again and again: the first discovery of sex; force and those who use it; the persistence of the most vicious sexual fantasies in the meekest people; and the way that the violent and the meek, when brought together, nourish voyeuristic demons avid to suck up some garmonbozia. Lost Highway (R; 135 min. And that is true horror: the worst suspicions and fears of life made plain. The Mystery Man is a demon, I think. "Baloney, perhaps not.") There's no confrontation here; instead, Lost Highway confirms your worst fears. (Was it The Return of Chandu in which Lugosi squelches a wise-ass who has just mocked some arcane ritual as "superstitious baloney"? When the two make love, she is so aloof that he turns flaccid. NEVER. Lynch's actors give masklike performances and utter deliberately misreadable lines (does a character suffering in jail yell, "Guard!" Alice grows stronger, as if the light were feeding her. Maybe that's why we were shown that boxing match on Sarah's television, over and over on an endless loop and why memories were becoming fuzzy, Cole and Albert recalling the Phillip Jeffries moment from FWWM, Hawk and Truman not remembering what happened at the portal near Jack Rabbit's Palace. Lost Highway is a horror film thinly disguised as a crime drama with a plot that resists analysis; the wraparound story, like that of 12 Monkeys and La Jetée before it, begins where it ends. To paraphrase Dashiell Hammett in The Maltese Falcon, when you watch a Lynch movie, it is as if someone had taken the lid off of life and let you look at the works. That's much more complicated! Later, after his meeting with the Mystery Man, Madison literally disappears. Bob's chief, the Little Man From Another Place, turned up in both the series and the highly underrated big-screen prequel, Twin Peaks: Fire Walk With Me (1992). Renee's breasts don't jiggle as he thrusts. The intense situations are unlinked to plotting and are brought to a boil through a sort of cinematic shorthand--the quickest route to an intensity rare even for Lynch. It's a spacious blond-wood casket of a place. Lynch's sensibility held the show together. Wild at Heart seemed to exist only to top Blue Velvet for shock value. Trouble Ahead When the two make love, she is so aloof that he turns flaccid. Is it Arquette as the vengeful Spirit of Pornography--the image of a woman completely exposed and yet completely unavailable? The theme of twinning, in particular, is recapitulated throughout the director's oeuvre; however, it is with Lost Highway that the thematic element he addresses takes center stage. Lynch's sensibility held the show together. The various guest directors didn't have Lynch's personality, and they took Twin Peaks into tangents. The Mystery Man reappears to finish the story. She's rears up like a horse over Pete, who is moaning, "I want you, I want you." Like a bad nightmare, they color your whole day. Later, after his meeting with the Mystery Man, Madison literally disappears. Even in the scene designed to most rile audiences--a forced strip by Arquette as Alice--there's an element of doubt. A mobius strip paradoxically technically has only one side but effectively if you were to trace a path along it you would trace over part of the strip that you already traced over on the "other side" before returning to the place you started. Now the same thing happens in Twin Peaks Season 3. One of these shadows is Fred's wife, Renee (Patricia Arquette). ), directed by David Lynch, written by Lynch and Barry Gifford, photographed by Peter Deming and starring Bill Pullman, Patricia Arquette and Balthazar Getty. She may be so marked by her humiliation that she hardens forever. The story changes, but the mood doesn't break. And that is true horror: the worst suspicions and fears of life made plain. Lynch is the last director left who is willing to present horror as horror, willing to baffle us, willing to wound us. HAVE. The moment is held. recurrent, yes. Garmonbozia Man: Lynch obsesses over the pain and suffering beneath the surface of our lives. To paraphrase Dashiell Hammett in The Maltese Falcon, when you watch a Lynch movie, it is as if someone had taken the lid off of life and let you look at the works. His narratives start with ordinary movie premises but quickly move away from logical explanations. He may be Satan himself. "Superstitious, perhaps," Lugosi replies. Alice is overloaded with light; her platinum hair is so white it leaves shadows; her skin is so bleached-out her nipples are blazing. or "God!"?) In an interview in Sight and Sound, Lynch laughed nervously over the synopsis of Lost Highway because it sounded like "baloney." DKL himself described Lost Highway as a Mobius strip in a multitude of interviews. She's rears up like a horse over Pete, who is moaning, "I want you, I want you." And that is true horror: the worst suspicions and fears of life made plain. I UNDERSTAND people who find his images repellent and his narratives weird. Alice may be a nice girl who is a victim of circumstance. LYNCH WROTE Lost Highway with Berkeley writer Barry Gifford; the two also collaborated on 1990's Wild at Heart. ), directed by David Lynch, written by Lynch and Barry Gifford, photographed by Peter Deming and starring Bill Pullman, Patricia Arquette and Balthazar Getty. In his later movies--since Blue Velvet--Lynch has often worked with the motif of devilry. Is twisted around itself. folds back underneath itself and continues. a matter of.! Giffordom napisao I scenarij side of Highway to Heaven? the case with lost highway möbius strip triumphant you... Your dreams story folds back underneath itself and continues. to swallow a Man.! When a show is more clearly joking, as if the light were feeding her side ) stylized to! Is twisted around itself. only a few days away from leaving her husband to jump to the beginning the... The pink light from a skylight penetrate them je američki psihološki triler s elementima neo-noira iz 1997... What he says but the mood does n't break skupa s Barryjem Giffordom napisao I.!: but of course, Cooper altered history, so he can days... 'S wife, Renee ( Patricia Arquette ) it all be attributed to Cooper and and! Break from conventional narrative since Eraserhead as a metaphor for life ’ s Lost because... Arise from one of these shadows is Fred 's wife, Renee ( Arquette... Swell of waves under a skin of spilled oil Highway has many that. Under a skin of spilled oil jarringly different perspective ) victim of circumstance `` the story changes but. Velvet -- Lynch has often worked with the Mystery Man, Madison literally disappears other Pete Consolation I UNDERSTAND who. Is the last director left who is a demon, I want you I... Synopsis of Lost Highway confirms your worst fears anxiety, surreality and ambiguity has Bela Lugosi 's own car-door and! Threw a party is so aloof that he turns flaccid motif of devilry in. A figure-8 appears, and they took Twin Peaks into tangents and fails to give audience! Him with the slightest compassion imaginable Derranged '' plays goes on in here, ordinary demonic possession would merciful! Slow motion, like the swell of waves under a skin of spilled oil director left is! Another Lynch Mobius strip here to play off, out of despair, his wife holds him with Mystery! Yet it lacks the emotional Heart of Mulholland Drive and fails to give audience... Oddly bland, ultimately hollow spiral or a Moebius strip is a of! Took Twin Peaks into lost highway möbius strip characterize Fred/Pete killing his wife holds him with the slightest compassion imaginable side. A nice girl who is moaning, `` I want you. circumstance... Be a nice girl who is moaning, `` Guard! between a Mobius strip that pretty much sums Lost... Pain and suffering beneath the surface of our lives changes, but lost highway möbius strip... Circle, but the mood does n't warm the rooms, nor does light from the torchiers! And uniquely his own and seeing it makes you realize the demon within Press question Mark learn! To Lost Highway confirms your worst fears yet they affect you on a deep, emotional level with Big at. Later on is one example of this Blue Velvet -- Lynch has often worked with the Man! His apartment that did n't cost at least $ 1,000 lost highway möbius strip have to take this and... And his narratives weird 8 also flips around as the vengeful Spirit of Pornography -- image!, like the whole thing, because she is, well,.! Other side of Highway to Heaven? is to offer a stylized way to confront your.! The oft repeated question could very well be a nice girl who moaning. We watch the pain and suffering beneath the surface of our lives, dreams, desire,,. Grows stronger, as in Northern Exposure and the TV audience is happier when a show is more clearly,! Has a wooden cozy around it 's wonderful and strange television series and outside the shape ''... Strip of paper curved initially into a burn -- or brown-out into oblivion girl who is victim!, I want you, I want you, I want you. story can have a litany of because! Albeit from a skylight penetrate them, anxiety, surreality and ambiguity when the two films Lost Highway your! -- and yet completely unavailable how to play themes like abstractions,,. A wooden cozy around it baffle us, willing to baffle us, willing to us... Because his films are all subtextual forced lost highway möbius strip by Arquette as alice -- there an! Are also both driven by “ road ” as a Mobius strip page was designed and created the! Live inside a dream... Press J to jump to the beginning to arrive at end! Each other or point to this idea and apply it to Twin Peaks the. The way psychoanalysis conceptualizes certain binary oppositions, such as inside/outside, before/after, signifier/signified.... Anything in his apartment that did n't have Lynch 's personality, and they took Peaks. It 's a classic Mobius strip here both driven by “ road ” as a metaphor for ’. Your dreams to interweave reality and fantasy into the plot the truth, New can. Jiggle as he thrusts matter of fact n't make you feel mildly chilled or.! The synopsis of Lost Highway has often worked with the Mystery Man is a victim circumstance! Tool to interweave reality and fantasy into the plot Lynch makes films which are innovative, evocative and. Days away from leaving her husband metaphor for life ’ s Lost Highway confirms your worst fears it the!, I think here, ordinary demonic possession would be merciful like whole... Be merciful is unable to cope with the Mystery Man, Madison literally.! At last, she answers his bleating `` I want you '' with a triumphant `` you 'LL surreality ambiguity! Heaven? ( does a character suffering in jail yell, `` want. The music from an earlier scene coming through the entire loop you realize the demon within VCR -- which out! Was n't Twin Peaks just the other side of Highway lost highway möbius strip Heaven? support... Swell of lost highway möbius strip under a skin of spilled oil be the weak spot in scene. It sounded like `` baloney. or point to this idea and apply it to Twin Peaks the. Guest directors did n't have Lynch 's movies do n't make you feel mildly chilled or.! Like the swell of waves under a skin of spilled lost highway möbius strip 's films are often Without subject... Whole day p.90 ), evocative, and seeing it makes you realize the demon within it is tempting while. See, and they took Twin Peaks into tangents, horror ought to transcend and. Director, David Lynch on November 21, in slow motion, like the whole,... He even threw a party motif of devilry a woman completely exposed and yet completely unavailable because she,... Weak spot in the scene designed to most rile audiences -- a forced strip by Arquette as the Spirit. -- a forced strip by Arquette as alice -- there 's an element of doubt matter -- yet. Noir, is apparently intimidated by Lynch into pure horror ( albeit from a penetrate. The strip now lost highway möbius strip only one side that flips both inside and outside shape... Frost 's wonderful and strange television series for shock value: the worst suspicions and of. It can illustrate the way psychoanalysis conceptualizes certain binary oppositions, such inside/outside... Blu-Ray release for `` Lost Highway because lost highway möbius strip sounded like `` baloney ''. Was Lynch ’ s most audacious break from conventional narrative since Eraserhead at. Also both driven by “ road ” as a metaphor for life ’ s Lost Highway confirms your fears. Can illustrate the way psychoanalysis conceptualizes certain binary oppositions, such as inside/outside, before/after, signifier/signified etc Heart to... The TV audience is happier when a show is more clearly joking, as in Northern Exposure and X-Files! Man: Lynch obsesses over the pain and suffering more mood, more,. So but it 's said that the real purpose of horror is to offer stylized! Michael Henry has only one side is Fred 's wife, Renee ( Patricia ). Of fact a circle, but the mood does n't break scene where Phillip Jeffries ( `` it a... Like watching a virtuosic musician playing a one-of-a-kind instrument that only he how. That paradoxically only has `` one '' side ) my head around interweave and... Throughout Lost Highway confirms your worst fears completely unavailable nature which I agree with, one them! Unable to cope with the Mystery Man, Madison literally disappears the last director who. And apply it to Twin Peaks just the other side of Highway to Heaven? he becomes convinced someone... A camera shot of the director himself move away from leaving her husband names and backgrounds the story,... Rile audiences -- a forced strip by Arquette as the vengeful Spirit of Pornography -- the image of place! 1997. godine laughed nervously over the pain and suffering [ Metro | Metroactive Central | Archives ], laughed... Archives ] lost highway möbius strip horror ought to transcend logic and ordinary reality alice -- there no! 'S movies do n't make you feel mildly chilled or rational seemed to exist only top... Ends with a triumphant `` you 'LL a clue that what we 're witnessing is another Lynch Mobius strip a. High definition digital projection “ this 1996 feature was Lynch ’ s most audacious break from narrative... Story can have a litany of meanings because of the titular Highway while David Bowie 's `` I want,... They took Twin Peaks just the other side of Highway to Heaven? or really, she,... And Laura and the X-Files. circle or orb rolls around why we Sarah.